The title songs is an energetic piece. All players are firmly engaged. Wintz and Pino blend on the melody, including some tightly synchronized phrases. Pino, Wintz and Gould each thrill in his moment in the spotlight. But don’t lose track of Baron and Macbride.

A balancing act of four original songs and four covers, Pathways is a stand-out for piano trio music. Instead of revisiting the same standards many other trios have covered, Miwa opts for jazz improvisations of two pop/rock songs, two Marc Johnson compositions and her originals. The result is a sound that’s fresh, exciting and full of vigor.

It took about seven years to complete, but Conversations by Joris Teepe and Don Braden (Creative Perspective Music, 2017) is worth the wait. A project that began in 2009 with the recording completed in 2016 mixes old and new, classics and originals.

Three classics open the set in stellar fashion. Chick Corea’s “Humpty Dumpty,” Elvin Jones’ “Three Card Molly” and Charles Mingus’ “Goodbye Pork-Pie Hat” showcase the partners’ complementary styles. The last of that trilogy is done sans drums. Braden (“Eddieish”), Wilson (“Stolen Time”) and Teepe (“We Take No Prisoners”) each penned one track.

If you’re in the mood for romance, or need inspiration to get into the mood, vocalist Julia Fordham is calling to you. The Language of Love (Red River Entertainment, 2017) injects a jazzy element to some favorite pop songs, including a power ballad by Blondie and a song of denial by 10cc.

“A Thought” shows the soft side of Cannon. This mellow piece has a bossa nova vibe, reminiscent of a Getz/Gilberto collaboration. Irby, Barron and Pelt assist on this one, each contributing in his own way. Irby and Pelt are out front much of the way. But Cannon and Jones handle plenty in the background.

“Intro Cut” is a sensational opening track. Imagine you’re at a concert, and anxious for the show to begin. Then, when the curtain finally opens, a dramatic swell, not unlike the production company fanfare that introduces a movie. That formality aside, the band shifts into a free-for-all jam. The blended horns carry the lead. Or do they? There’s so much going on from the other instruments, the bass line, the wah-wah guitar, the keys, drums and percussion. Everybody gets in on it.

It’s straight-ahead jazz, but with enough melodic influences to work for the masses who tend to shy away from things that aren’t catchy. Saxophonist and composer Kenny Shanker releases The Witching Hour (Wise Cat Records, 2017).

Shanker plays the alto on the opener, “Kottinger Park.” It’s a high-energy, fun romp. The leader plays with passion, exploring the range of his instrument, with powerful cohesion among his accompanists. Middle solos by Eckroth and Abe keep things going, but it’s the play of Waki and Fishler that keeps it all together. The two really get busy behind the guitar.